There, in 1923, he became friendly with Ezra Pound, who years later would dedicate his Guide to Kulchur (1938) to both Bunting and Louis Zukofsky, "strugglers in the desert".
Especially the sections of "A" written shortly before World War II are political: Section 10 for example, published in 1940, is an intense and horrifying response to the fall of France.
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Following brief stints as a substitute public school teacher and lab assistant at Brooklyn Technical High School in the aftermath of the WPA layoff, Zukofsky edited military-oriented textbooks and technical manuals at the Hazeltine Electronics Corporation (1943–44), the Jordanoff Corporation (1944–46), and the Techlit Corporation (1946–47) through the remainder of World War II and its immediate aftermath.
Louis Zukovsky (1904–1978), an American poet whose surname has alternate spellings
St. Louis | St. Louis Cardinals | Louis Armstrong | Louis Vuitton | Robert Louis Stevenson | Louis XIV of France | St. Louis County, Minnesota | Joe Louis | Louis IX of France | Louis Pasteur | Louis Mountbatten, 1st Earl Mountbatten of Burma | Saint Louis University | Washington University in St. Louis | Jacques-Louis David | Louis XIII of France | Louis XV of France | St. Louis Rams | Saint Louis | Louis XVI of France | Louis Agassiz | Louis the Pious | St. Louis Blues | Louis Andriessen | Spirit of St. Louis | Louis Comfort Tiffany | Louis | Louis XVIII of France | St. Louis Post-Dispatch | Louis Philippe II, Duke of Orléans | Louis B. Mayer |
A champion of American poetry since the 1960s, when he translated George Oppen and published John Ashbery and Louis Zukofsky, he has edited (with Emmanuel Hocquard) two anthologies of American poetry, 21+1: Poètes améicains d'aujourd'hui (1986) and 49+1: nouveaux poètes américains (1991).
In 1929 and 1930 he and Mary spent some time in New York, where they met Louis Zukofsky, Charles Reznikoff, musician Tibor Serly, and designer Russel Wright, among others.
Taggart's approach to the poem is strongly rooted in Objectivist poetics, particularly the works of Louis Zukofsky and George Oppen.
More than any other text, Drafts has made me understand the difference between the longpoem and the life poem, and I read Drafts, like (Zukofsky's “A”), like The Cantos, like Bev Dahlen’s A Reading, like my own project, as an instance of the latter.
The Writing of Guillaume Apollinaire/Le Style Apollinaire: Le Style Apollinaire (1934), with Louis Zukofsky, Sasha Watson, Jean Daive, and Serge Gavronsky, Univ Press of New England, ISBN 0-8195-6620-9; (Hardcover ISBN 0-8195-6619-5)
He has written a dozen articles (on Duncan, Allen Ginsberg, George Oppen, Penelope Fitzgerald, Louis Zukofsky, Kenneth Patchen, Paul Blackburn, Robert Kelly, among others) for encyclopedias (DLB, Encyclopedia of American Literature, Encyclopedia of World Literature, and The Ezra Pound Encyclopedia), and many essays and reviews for journals, especially Sagetrieb.
From 1967-9, he joined Cape as General Editor of the international series Cape Editions and as a Founding Director of the Cape-Goliard Press, specializing in contemporary American Poetry with emphasis on Charles Olson, Robert Duncan, Louis Zukofsky and their peers and successors.